related works

The Brightness of Light : for 11 musicians / Brendan Faegre

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: fl cl h trp perc pf 2vln vla vc db

Dode duiven vallen om mij heen : = Dead pigeons are falling around me / Hans van Sweeden

Genre: Chamber music
Subgenre: Piano; Voice and piano; Voice and instrument(s); Flute; Violin
Scoring: pf / sopr/sopr-m pf / sopr pf / occarino / vl

Non-lecture IV : violin-solo / Will Eisma

Genre: Chamber music
Subgenre: Violin
Scoring: vl

Muziek voor twee violen : 1982, revisie 1995 / Carlos Micháns

Genre: Chamber music
Subgenre: Violin
Scoring: 2vl

composition

Lys-slått : for baroque violin / Brendan Faegre

Other authors:
Faegre, Brendan (Composer)
Description:
J.S. Bach has been speaking to me since before I was born. From my father playing the cello suites throughout childhood, to now passing the 1-year marker in my relationship with a baroque violinist, Johann's whisperings were no longer avoidable: "...write a piece for baroque violin..." Those words may have actually come from Lucia, but regardless, the intention was set. When I began exploring Norwegian folk music, the similarities between the two styles struck me in their use of ornamentation, vibrato, and unequal temperament, which led to the creation of this work.
In composing Lys-slått, I sought foremost to meld the poignant intonation and gestures of the Norwegian Hardanger fiddle tradition with elements of baroque string writing. I drew inspiration from J.S. Bach's astute writing for the violin in his solo sonatas and partitas, from the early Italian baroque habit of creating form through an alternation of contrasting sections, and from the unique physical characteristics of a baroque violin. The dark, rich gut strings are naturally well-suited to harmonics; a short, light bow prefers frequent articulation and allows for virtuosic right-hand speed; and a lower bridge is more conducive to double-stops. Aiming to draw on the strengths of the early music performer who is trained to perform in unequal temperaments, I expanded the intonation of folk music from the Telemark region into microtonal harmonies that permeate the piece. My own love of color, pulse, and rhythmic play found its way into the piece as well.